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Tirta Wana Dander
Next south of Bojonegoro city about 13 km, there is nature tourism object and artificial tourism object, precise in Dander village, Dander district, that famous with Tirtawana, Tirta meaning Water and Wana meaning that the Forest. It’s mean that there is water in the forest. Tirta Wana Dander is a tourism object that has full of nature panorama that very beautiful, because there are many big trees and shady also tropical plants that made the air becomes cool and fresh. Here has built very wide swimming pool, that consisted of two parts, west side is for the women and child then east side is for the adult. Because of its beauty of nature and its coolness air, then in the holiday, the tourists often visit Tirtawana Dander.
Tirtawana Dander also equipped with a place to play, to camp, provided by golf-course for who have hobby to played golf. The visitors come to this tourism object are to relax, swimming, or play golf.
This place has its unique geographical because its fresh nature. The pool is taken from the natural water source that very clean and clear so that we will feel fresh if we take a bath in this poll.
There is some support equipments, such as; toilet, float, jump board, playground, shelter, kiosks, meeting room, golf field, camping ground, etc.
More info visit: www.eastjava.com
The precise location is Mucking, site of an important Roman to Anglo Saxon era settlement and industrial site, excavated around the 1970s. 4M47 London Gateway - Hams Hall.
Created in the 1930s and redeveloped in more recent years to include artist-designed ornamental gardens, events area, play area with splash pad, Café and toilets. Grassed areas and riverside walks for quiet relaxation, picnics and kite flying or more vigorous pursuits such as running and cycling.
Chester-le-Street is a market town in the County Durham district, in the ceremonial county of Durham, England. It is located around 6 miles (10 kilometres) north of Durham and is also close to Newcastle upon Tyne. The town holds markets on Tuesdays, Fridays and Saturdays. In 2011, it had a population of 24,227.
The town's history is ancient; records date to a Roman-built fort called Concangis. The Roman fort is the Chester (from the Latin castra) of the town's name; the Street refers to the paved Roman road that ran north–south through the town, now the route called Front Street. The parish church of St Mary and St Cuthbert is where the body of Anglo-Saxon St Cuthbert remained for 112 years before being transferred to Durham Cathedral and site of the first Gospels translation into English, Aldred writing the Old English gloss between the lines of the Lindisfarne Gospels there.
The Romans founded a fort named Concangis or Concagium, which was a Latinisation of the original Celtic name for the area, which also gave name to the waterway through the town, Cong Burn. The precise name is uncertain as it does not appear in Roman records, but Concangis is the name most cited today. Although a meaning "Place of the horse people" has been given, scholarly authorities consider the meaning of the name obscure.
Old English forms of the name include Cuneceastra and Conceastre, which takes its first two syllables from the Roman name, with the addition of the Old English word ceaster 'Roman fortification' The Universal etymological English dictionary of 1749 gives the town as Chester upon Street (and describes it as "a Village in the Bishoprick of Durham"). At some point this was shortened to the modern form.
There is evidence of Iron Age use of the River Wear near the town, but the history of Chester-le-Street starts with the Roman fort of Concangis. This was built alongside the Roman road Cade's Road (now Front Street) and close to the River Wear, around 100 A.D., and was occupied until the Romans left Britain in 410 A.D. At the time, the Wear was navigable to at least Concangis and may also have provided food for the garrisons stationed there.
After the Romans left, there is no record of who lived there (apart from some wounded soldiers from wars who had to live there), until 883 when a group of monks, driven out of Lindisfarne seven years earlier, stopped there to build a wooden shrine and church to St Cuthbert, whose body they had borne with them. While they were there, the town was the centre of Christianity for much of the north-east because it was the seat of the Bishop of Lindisfarne, making the church a cathedral. There the monks translated into English the Lindisfarne Gospels, which they had brought with them. They stayed for 112 years, leaving in 995 for the safer and more permanent home at Durham. The title has been revived as the Roman Catholic titular see of Cuncacestre.
The church was rebuilt in stone in 1054 and, despite the loss of its bishopric, seems to have retained a degree of wealth and influence. In 1080, most of the huts in the town were burned and many people killed in retaliation for the death of William Walcher, the first prince-bishop, at the hands of an English mob. After this devastation wrought by the Normans the region was left out of the Domesday Book of 1086; there was little left to record and the region was by then being run from Durham by the prince-bishops, so held little interest for London.
Cade's Road did not fall out of use but was hidden beneath later roads which became the Great North Road, the main route from London and the south to Newcastle and Edinburgh. The town's location on the road played a significant role in its development, as well as its name, as inns sprang up to cater for the travelling trade: both riders and horses needed to rest on journeys usually taking days to complete. This trade reached a peak in the early 19th century as more and more people and new mail services were carried by stagecoach, before falling off with the coming of the railways. The town was bypassed when the A167 was routed around the town and this was later supplanted by the faster A1(M).
The coal industry also left its mark on the town. From the late 17th century onwards, coal was dug in increasing quantities in the region. Mining was centred around the rivers, for transportation by sea to other parts of the country, and Chester-le-Street was at the centre of the coal being dug and shipped away down the Wear, so a centre of coal related communication and commerce. At the same time, the growth of the mines and the influx of miners supported local businesses, not just the many inns but new shops and services, themselves bringing in more people to work in them. These people would later work in new industries established in the town to take advantage of its good communications and access to raw materials.
One of the most tragic episodes in the town's history and that of the coal industry in NE England occurred during a miners' strike during the winter of 1811/12. Collieries owned by the Dean and Chapter of Durham Cathedral were brought to a standstill by the strike, causing much hardship amongst the people of the town. The strike was broken on New Year's Day, 1 January 1812, when the Bishop of Durham, Shute Barrington, sent a detachment of troops from Durham Castle to force a return to work. It is thought that this uncharacteristic act by Barrington was due to pressure from the national government in Westminster who were concerned that the strike was affecting industrial output of essential armaments for the Napoleonic Wars.
On the evening of 5 October 1936, the Jarrow Marchers stopped at the town centre after their first day's walk. The church hall was used to house them before they continued onward the following day.
From 1894 until 2009, local government districts were governed from the town. From 1894 to 1974, it had a rural district, which covered the town and outlying villages. In 1909, the inner rural district formed an urban district, which covered the town as it was at that time.
By 1974, the town expanded out of the urban district, during that year's reforms the urban and rural districts, as well as other areas formed a non-metropolitan district. It was abolished in 2009 reforms when the non-metropolitan county became a unitary authority.
The town has a mild climate and gets well below average rainfall relative to the UK. It does though experience occasional floods. To the east of the town lies the Riverside cricket ground and Riverside Park. They were built on the flood plains of the River Wear, and are often flooded when the river bursts its banks. The town centre is subject to occasional flash flooding, usually after very heavy rain over the town and surrounding areas, if the rain falls too quickly for it to be drained away by Cong Burn. The flooding occurs at the bottom of Front Street where the Cong Burn passes under the street, after it was enclosed in concrete in 1932.
Chester-le-Street's landmarks
A brick-red, elliptically curved arch, twice as wide as it is high, over an open area with a brick-red surface
Front of a three-storey building, six windows across, with a large-framed wood door at ground level and a painted sign with the words "THE QUEENS HEAD"
Square castle with square tower
A large railway viaduct made from red bricks, topped by railings and electric pylons
The general Post Office, the marketplace with the former Civic Heart sculpture (now demolished), the Queens Head Hotel on Front Street, Lumley Castle and Chester Burn viaduct
John Leland described Chester-le-Street in the 1530s as "Chiefly one main street of very mean building in height.", a sentiment echoed by Daniel Defoe.
The viaduct to the northwest of the town centre was completed in 1868 for the North Eastern Railway, to enable trains to travel at high speed on a more direct route between Newcastle and Durham. It is over 230m long with 11 arches, now spanning a road and supermarket car-park, and is a Grade II listed structure.
Lumley Castle was built in 1389. It is on the eastern bank of the River Wear and overlooks the town and the Riverside Park.
The Queens Head Hotel is located in the central area of the Front Street. It was built over 250 years ago when Front Street formed part of the main route from Edinburgh and Newcastle to London and the south of England. A Grade II listed building, it is set back from the street and is still one of the largest buildings in the town centre.
Chester-le-Street Post Office at 137 Front Street is in Art Deco style and replaced a smaller building located on the corner of Relton Terrace and Ivanhoe Terrace. It opened in 1936 and is unusual in that it is one of a handful[30] of post offices that display the royal cypher from the brief reign of Edward VIII.
Main article: St Mary and St Cuthbert, Chester-le-Street
St Mary and St Cuthbert church possesses a rare surviving anchorage, one of the best-preserved in the country. It was built for an anchorite, an extreme form of hermit. His or her walled-up cell had only a slit to observe the altar and an opening for food, while outside was an open grave for when the occupant died. It was occupied by six anchorites from 1383 to c. 1538, and is now a museum known as the Anker's House. The north aisle is occupied by a line of Lumley family effigies, only five genuine, assembled circa 1590. Some have been chopped off to fit and resemble a casualty station at Agincourt, according to Sir Simon Jenkins in his England's Thousand Best Churches. This and Lumley Castle are Chester-le-Street's only Grade I listed buildings.
The Bethel United Reformed church on Low Chare
The small United Reformed Church on Low Chare, just off the main Front Street, was built in 1814 as the Bethel Congregational Chapel and remodelled in 1860. It is still in use and is a Grade II listed building.
The Riverside Ground, known for sponsorship reasons as the Seat Unique Riverside, is home to Durham County Cricket Club which became a first class county in 1992. Since 1999, the ground has hosted many international fixtures, usually involving the England cricket team. The ground was also host to two fixtures at the 1999 Cricket World Cup, and three fixtures at the 2019 Cricket World Cup. The town also has its own cricket club, Chester-le-Street Cricket Club based at the Ropery Lane ground. They are the current Champions of the North East Premier League, won the national ECB 45 over tournament in 2009 and reached the quarter-final of the national 20/20 club championship in 2009.
Chester-le-Street Amateur Rowing Club is based on the River Wear near the Riverside cricket ground and has been there for over 100 years. During the summer months the club operate mainly on the river, but in the winter move to indoor sessions during the evenings and use the river at weekends.
The club has over 160 members of which 90 are junior members, with numbers increasing annually. The club are well thought of by British Rowing as a lead club for junior development with many juniors now competing at GB level, and some competing for GB at international events.
Medieval football was once played in the town. The game was played annually on Shrove Tuesday between the "Upstreeters" and "Downstreeters". Play started at 1 pm and finished at 6 pm. To start the game, the ball was thrown from a window in the centre of the town and in one game more than 400 players took part. The centre of the street was the dividing line and the winner was the side where the ball was (Up or Down) at 6 pm. It was played from the Middle Ages until 1932, when it was outlawed by the police and people trying to carry on the tradition were arrested. Chester-le-Street United F.C. were founded in 2020 and compete in the Northern Football League Division Two. In the 2022/23 season they finished above their local rivals Chester-le-Street Town F.C. who were founded in 1972 and compete in the Northern Football League Division Two and based just outside Chester-le-street in Chester Moor.
Chester-le-Street railway station is a stop on the East Coast Main Line of the National Rail network between Newcastle and Durham; it opened in 1868. The station is served by two train operating companies:
TransPennine Express provides services between Liverpool Lime Street, Manchester Piccadilly, Leeds, York, Durham and Newcastle;
Northern Trains runs a limited service in early mornings and evenings; destinations include Newcastle, Carlisle and Darlington.
The station is managed by Northern Trains.
The town is mentioned in the 1963 song "Slow Train" by Flanders and Swann:
No churns, no porter, no cat on a seat,
At Chorlton-cum-Hardy or Chester-le-Street.
Chester-le-Street's bus services are operated primarily by Go North East and Arriva North East; routes connect the town with Newcastle, Durham, Middlesbrough and Seaham.
The town is the original home of The Northern General Transport Company, which has since grown into Go North East; it operated from the Picktree Lane Depot until 2023 when it was demolished. It also pioneered the use of Minilink bus services in the North East in 1985.
Front Street first carried the A1 road, between London and Edinburgh, through the town. A bypass was built in the 1950s, which still exists today as the A167. The bypass road itself was partly bypassed by, and partly incorporated in, the A1(M) motorway in the 1970s.
The northern end of Front Street was once the start of the A6127, which is the road that would continue through Birtley, Gateshead and eventually over the Tyne Bridge; it become the A6127(M) central motorway in Newcastle upon Tyne. However, when the Gateshead-Newcastle Western Bypass of the A1(M) was opened, many roads in this area were renumbered; they followed the convention that roads originating between single digit A roads take their first digit from the single digit A road in an anticlockwise direction from their point of origin. Newcastle Road, which was formerly designated A1, is now unclassified. The A6127 was renamed the A167. Car traffic is now banned from the northern part of Front Street and it is restricted to buses, cyclists and delivery vehicles.
Education
Primary schools
Cestria Primary School
Bullion Lane Primary School
Woodlea Primary School
Lumley Junior and Infant School
Newker Primary School
Red Rose Primary School
Chester-le-Street CE Primary School
St Cuthbert's RCVA Primary School
Secondary schools
Park View School
Hermitage Academy
Notable people
Michael Barron, footballer
Aidan Chambers, children's author, Carnegie Medal and Hans Christian Andersen Award winner
William Browell Charlton, trade union leader, Durham County Colliery Enginemen's Association, National Federation of Colliery Enginemen and Boiler Firemen
Ellie Crisell, journalist and television presenter
Ronnie Dodd, footballer
Danny Graham, footballer
Andrew Hayden-Smith, actor and presenter
Grant Leadbitter, footballer
Sheila Mackie, artist
Jock Purdon, folk singer and poet
Adam Reach, footballer
Bryan Robson, former England football captain, and his brothers Justin and Gary, also footballers
Gavin Sutherland, conductor and pianist
Colin Todd, football manager and former England international player
Olga and Betty Turnbull, child entertainers of the 1930s who performed for royalty
Kevin "Geordie" Walker, guitarist of post-punk group Killing Joke
Peter Ward, footballer
Bruce Welch of pop group The Shadows
It is twinned with:
Germany Kamp-Lintfort in Germany.
County Durham, officially simply Durham is a ceremonial county in North East England. The county borders Northumberland and Tyne and Wear to the north, the North Sea to the east, North Yorkshire to the south, and Cumbria to the west. The largest settlement is Darlington, and the county town is the city of Durham.
The county has an area of 2,721 km2 (1,051 sq mi) and a population of 866,846. The latter is concentrated in the east; the south-east is part of the Teesside built-up area, which extends into North Yorkshire. After Darlington (92,363), the largest settlements are Hartlepool (88,855), Stockton-on-Tees (82,729), and Durham (48,069). For local government purposes the county comprises three unitary authority areas—County Durham, Darlington, and Hartlepool—and part of a fourth, Stockton-on-Tees. The county historically included the part of Tyne and Wear south of the River Tyne, and excluded the part of County Durham south of the River Tees.
The west of the county contains part of the North Pennines uplands, a national landscape. The hills are the source of the rivers Tees and Wear, which flow east and form the valleys of Teesdale and Weardale respectively. The east of the county is flatter, and contains by rolling hills through which the two rivers meander; the Tees forms the boundary with North Yorkshire in its lower reaches, and the Wear exits the county near Chester-le-Street in the north-east. The county's coast is a site of special scientific interest characterised by tall limestone and dolomite cliffs.
What is now County Durham was on the border of Roman Britain, and contains survivals of this era at sites such as Binchester Roman Fort. In the Anglo-Saxon period the region was part of the Kingdom of Northumbria. In 995 the city of Durham was founded by monks seeking a place safe from Viking raids to house the relics of St Cuthbert. Durham Cathedral was rebuilt after the Norman Conquest, and together with Durham Castle is now a World Heritage Site. By the late Middle Ages the county was governed semi-independently by the bishops of Durham and was also a buffer zone between England and Scotland. County Durham became heavily industrialised in the nineteenth century, when many collieries opened on the Durham coalfield. The Stockton and Darlington Railway, the world's first public railway to use steam locomotives, opened in 1825. Most collieries closed during the last quarter of the twentieth century, but the county's coal mining heritage is remembered in the annual Durham Miners' Gala.
Remains of Prehistoric Durham include a number of Neolithic earthworks.
The Crawley Edge Cairns and Heathery Burn Cave are Bronze Age sites. Maiden Castle, Durham is an Iron Age site.
Brigantia, the land of the Brigantes, is said to have included what is now County Durham.
There are archaeological remains of Roman Durham. Dere Street and Cade's Road run through what is now County Durham. There were Roman forts at Concangis (Chester-le-Street), Lavatrae (Bowes), Longovicium (Lanchester), Piercebridge (Morbium), Vindomora (Ebchester) and Vinovium (Binchester). (The Roman fort at Arbeia (South Shields) is within the former boundaries of County Durham.) A Romanised farmstead has been excavated at Old Durham.
Remains of the Anglo-Saxon period include a number of sculpted stones and sundials, the Legs Cross, the Rey Cross and St Cuthbert's coffin.
Around AD 547, an Angle named Ida founded the kingdom of Bernicia after spotting the defensive potential of a large rock at Bamburgh, upon which many a fortification was thenceforth built. Ida was able to forge, hold and consolidate the kingdom; although the native British tried to take back their land, the Angles triumphed and the kingdom endured.
In AD 604, Ida's grandson Æthelfrith forcibly merged Bernicia (ruled from Bamburgh) and Deira (ruled from York, which was known as Eforwic at the time) to create the Kingdom of Northumbria. In time, the realm was expanded, primarily through warfare and conquest; at its height, the kingdom stretched from the River Humber (from which the kingdom drew its name) to the Forth. Eventually, factional fighting and the rejuvenated strength of neighbouring kingdoms, most notably Mercia, led to Northumbria's decline. The arrival of the Vikings hastened this decline, and the Scandinavian raiders eventually claimed the Deiran part of the kingdom in AD 867 (which became Jórvík). The land that would become County Durham now sat on the border with the Great Heathen Army, a border which today still (albeit with some adjustments over the years) forms the boundaries between Yorkshire and County Durham.
Despite their success south of the river Tees, the Vikings never fully conquered the Bernician part of Northumbria, despite the many raids they had carried out on the kingdom. However, Viking control over the Danelaw, the central belt of Anglo-Saxon territory, resulted in Northumbria becoming isolated from the rest of Anglo-Saxon Britain. Scots invasions in the north pushed the kingdom's northern boundary back to the River Tweed, and the kingdom found itself reduced to a dependent earldom, its boundaries very close to those of modern-day Northumberland and County Durham. The kingdom was annexed into England in AD 954.
In AD 995, St Cuthbert's community, who had been transporting Cuthbert's remains around, partly in an attempt to avoid them falling into the hands of Viking raiders, settled at Dunholm (Durham) on a site that was defensively favourable due to the horseshoe-like path of the River Wear. St Cuthbert's remains were placed in a shrine in the White Church, which was originally a wooden structure but was eventually fortified into a stone building.
Once the City of Durham had been founded, the Bishops of Durham gradually acquired the lands that would become County Durham. Bishop Aldhun began this process by procuring land in the Tees and Wear valleys, including Norton, Stockton, Escomb and Aucklandshire in 1018. In 1031, King Canute gave Staindrop to the Bishops. This territory continued to expand, and was eventually given the status of a liberty. Under the control of the Bishops of Durham, the land had various names: the "Liberty of Durham", "Liberty of St Cuthbert's Land" "the lands of St Cuthbert between Tyne and Tees" or "the Liberty of Haliwerfolc" (holy Wear folk).
The bishops' special jurisdiction rested on claims that King Ecgfrith of Northumbria had granted a substantial territory to St Cuthbert on his election to the see of Lindisfarne in 684. In about 883 a cathedral housing the saint's remains was established at Chester-le-Street and Guthfrith, King of York granted the community of St Cuthbert the area between the Tyne and the Wear, before the community reached its final destination in 995, in Durham.
Following the Norman invasion, the administrative machinery of government extended only slowly into northern England. Northumberland's first recorded Sheriff was Gilebert from 1076 until 1080 and a 12th-century record records Durham regarded as within the shire. However the bishops disputed the authority of the sheriff of Northumberland and his officials, despite the second sheriff for example being the reputed slayer of Malcolm Canmore, King of Scots. The crown regarded Durham as falling within Northumberland until the late thirteenth century.
Following the Battle of Hastings, William the Conqueror appointed Copsig as Earl of Northumbria, thereby bringing what would become County Durham under Copsig's control. Copsig was, just a few weeks later, killed in Newburn. Having already being previously offended by the appointment of a non-Northumbrian as Bishop of Durham in 1042, the people of the region became increasingly rebellious. In response, in January 1069, William despatched a large Norman army, under the command of Robert de Comines, to Durham City. The army, believed to consist of 700 cavalry (about one-third of the number of Norman knights who had participated in the Battle of Hastings), entered the city, whereupon they were attacked, and defeated, by a Northumbrian assault force. The Northumbrians wiped out the entire Norman army, including Comines, all except for one survivor, who was allowed to take the news of this defeat back.
Following the Norman slaughter at the hands of the Northumbrians, resistance to Norman rule spread throughout Northern England, including a similar uprising in York. William The Conqueror subsequently (and successfully) attempted to halt the northern rebellions by unleashing the notorious Harrying of the North (1069–1070). Because William's main focus during the harrying was on Yorkshire, County Durham was largely spared the Harrying.
Anglo-Norman Durham refers to the Anglo-Norman period, during which Durham Cathedral was built.
Matters regarding the bishopric of Durham came to a head in 1293 when the bishop and his steward failed to attend proceedings of quo warranto held by the justices of Northumberland. The bishop's case went before parliament, where he stated that Durham lay outside the bounds of any English shire and that "from time immemorial it had been widely known that the sheriff of Northumberland was not sheriff of Durham nor entered within that liberty as sheriff. . . nor made there proclamations or attachments". The arguments appear to have prevailed, as by the fourteenth century Durham was accepted as a liberty which received royal mandates direct. In effect it was a private shire, with the bishop appointing his own sheriff. The area eventually became known as the "County Palatine of Durham".
Sadberge was a liberty, sometimes referred to as a county, within Northumberland. In 1189 it was purchased for the see but continued with a separate sheriff, coroner and court of pleas. In the 14th century Sadberge was included in Stockton ward and was itself divided into two wards. The division into the four wards of Chester-le-Street, Darlington, Easington and Stockton existed in the 13th century, each ward having its own coroner and a three-weekly court corresponding to the hundred court. The diocese was divided into the archdeaconries of Durham and Northumberland. The former is mentioned in 1072, and in 1291 included the deaneries of Chester-le-Street, Auckland, Lanchester and Darlington.
The term palatinus is applied to the bishop in 1293, and from the 13th century onwards the bishops frequently claimed the same rights in their lands as the king enjoyed in his kingdom.
The historic boundaries of County Durham included a main body covering the catchment of the Pennines in the west, the River Tees in the south, the North Sea in the east and the Rivers Tyne and Derwent in the north. The county palatinate also had a number of liberties: the Bedlingtonshire, Islandshire and Norhamshire exclaves within Northumberland, and the Craikshire exclave within the North Riding of Yorkshire. In 1831 the county covered an area of 679,530 acres (2,750.0 km2) and had a population of 253,910. These exclaves were included as part of the county for parliamentary electoral purposes until 1832, and for judicial and local-government purposes until the coming into force of the Counties (Detached Parts) Act 1844, which merged most remaining exclaves with their surrounding county. The boundaries of the county proper remained in use for administrative and ceremonial purposes until the Local Government Act 1972.
Boldon Book (1183 or 1184) is a polyptichum for the Bishopric of Durham.
Until the 15th century, the most important administrative officer in the Palatinate was the steward. Other officers included the sheriff, the coroners, the Chamberlain and the chancellor. The palatine exchequer originated in the 12th century. The palatine assembly represented the whole county, and dealt chiefly with fiscal questions. The bishop's council, consisting of the clergy, the sheriff and the barons, regulated judicial affairs, and later produced the Chancery and the courts of Admiralty and Marshalsea.
The prior of Durham ranked first among the bishop's barons. He had his own court, and almost exclusive jurisdiction over his men. A UNESCO site describes the role of the Prince-Bishops in Durham, the "buffer state between England and Scotland":
From 1075, the Bishop of Durham became a Prince-Bishop, with the right to raise an army, mint his own coins, and levy taxes. As long as he remained loyal to the king of England, he could govern as a virtually autonomous ruler, reaping the revenue from his territory, but also remaining mindful of his role of protecting England’s northern frontier.
A report states that the Bishops also had the authority to appoint judges and barons and to offer pardons.
There were ten palatinate barons in the 12th century, most importantly the Hyltons of Hylton Castle, the Bulmers of Brancepeth, the Conyers of Sockburne, the Hansards of Evenwood, and the Lumleys of Lumley Castle. The Nevilles owned large estates in the county. John Neville, 3rd Baron Neville de Raby rebuilt Raby Castle, their principal seat, in 1377.
Edward I's quo warranto proceedings of 1293 showed twelve lords enjoying more or less extensive franchises under the bishop. The repeated efforts of the Crown to check the powers of the palatinate bishops culminated in 1536 in the Act of Resumption, which deprived the bishop of the power to pardon offences against the law or to appoint judicial officers. Moreover, indictments and legal processes were in future to run in the name of the king, and offences to be described as against the peace of the king, rather than that of the bishop. In 1596 restrictions were imposed on the powers of the chancery, and in 1646 the palatinate was formally abolished. It was revived, however, after the Restoration, and continued with much the same power until 5 July 1836, when the Durham (County Palatine) Act 1836 provided that the palatine jurisdiction should in future be vested in the Crown.
During the 15th-century Wars of the Roses, Henry VI passed through Durham. On the outbreak of the Great Rebellion in 1642 Durham inclined to support the cause of Parliament, and in 1640 the high sheriff of the palatinate guaranteed to supply the Scottish army with provisions during their stay in the county. In 1642 the Earl of Newcastle formed the western counties into an association for the King's service, but in 1644 the palatinate was again overrun by a Scottish army, and after the Battle of Marston Moor (2 July 1644) fell entirely into the hands of Parliament.
In 1614, a Bill was introduced in Parliament for securing representation to the county and city of Durham and the borough of Barnard Castle. The bishop strongly opposed the proposal as an infringement of his palatinate rights, and the county was first summoned to return members to Parliament in 1654. After the Restoration of 1660 the county and city returned two members each. In the wake of the Reform Act of 1832 the county returned two members for two divisions, and the boroughs of Gateshead, South Shields and Sunderland acquired representation. The bishops lost their secular powers in 1836. The boroughs of Darlington, Stockton and Hartlepool returned one member each from 1868 until the Redistribution of Seats Act 1885.
The Municipal Corporations Act 1835 reformed the municipal boroughs of Durham, Stockton on Tees and Sunderland. In 1875, Jarrow was incorporated as a municipal borough, as was West Hartlepool in 1887. At a county level, the Local Government Act 1888 reorganised local government throughout England and Wales. Most of the county came under control of the newly formed Durham County Council in an area known as an administrative county. Not included were the county boroughs of Gateshead, South Shields and Sunderland. However, for purposes other than local government, the administrative county of Durham and the county boroughs continued to form a single county to which the Crown appointed a Lord Lieutenant of Durham.
Over its existence, the administrative county lost territory, both to the existing county boroughs, and because two municipal boroughs became county boroughs: West Hartlepool in 1902 and Darlington in 1915. The county boundary with the North Riding of Yorkshire was adjusted in 1967: that part of the town of Barnard Castle historically in Yorkshire was added to County Durham, while the administrative county ceded the portion of the Borough of Stockton-on-Tees in Durham to the North Riding. In 1968, following the recommendation of the Local Government Commission, Billingham was transferred to the County Borough of Teesside, in the North Riding. In 1971, the population of the county—including all associated county boroughs (an area of 2,570 km2 (990 sq mi))—was 1,409,633, with a population outside the county boroughs of 814,396.
In 1974, the Local Government Act 1972 abolished the administrative county and the county boroughs, reconstituting County Durham as a non-metropolitan county. The reconstituted County Durham lost territory to the north-east (around Gateshead, South Shields and Sunderland) to Tyne and Wear and to the south-east (around Hartlepool) to Cleveland. At the same time it gained the former area of Startforth Rural District from the North Riding of Yorkshire. The area of the Lord Lieutenancy of Durham was also adjusted by the Act to coincide with the non-metropolitan county (which occupied 3,019 km2 (1,166 sq mi) in 1981).
In 1996, as part of 1990s UK local government reform by Lieutenancies Act 1997, Cleveland was abolished. Its districts were reconstituted as unitary authorities. Hartlepool and Stockton-on-Tees (north Tees) were returned to the county for the purposes of Lord Lieutenancy. Darlington also became a third unitary authority of the county. The Royal Mail abandoned the use of postal counties altogether, permitted but not mandatory being at a writer wishes.
As part of the 2009 structural changes to local government in England initiated by the Department for Communities and Local Government, the seven district councils within the County Council area were abolished. The County Council assumed their functions and became the fourth unitary authority. Changes came into effect on 1 April 2009.
On 15 April 2014, North East Combined Authority was established under the Local Democracy, Economic Development and Construction Act 2009 with powers over economic development and regeneration. In November 2018, Newcastle City Council, North Tyneside Borough Council, and Northumberland County Council left the authority. These later formed the North of Tyne Combined Authority.
In May 2021, four parish councils of the villages of Elwick, Hart, Dalton Piercy and Greatham all issued individual votes of no confidence in Hartlepool Borough Council, and expressed their desire to join the County Durham district.
In October 2021, County Durham was shortlisted for the UK City of Culture 2025. In May 2022, it lost to Bradford.
Eighteenth century Durham saw the appearance of dissent in the county and the Durham Ox. The county did not assist the Jacobite Rebellion of 1715. The Statue of Neptune in the City of Durham was erected in 1729.
A number of disasters happened in Nineteenth century Durham. The Felling mine disasters happened in 1812, 1813, 1821 and 1847. The Philadelphia train accident happened in 1815. In 1854, there was a great fire in Gateshead. One of the West Stanley Pit disasters happened in 1882. The Victoria Hall disaster happened in 1883.
One of the West Stanley Pit disasters happened in 1909. The Darlington rail crash happened in 1928. The Battle of Stockton happened in 1933. The Browney rail crash happened in 1946.
The First Treaty of Durham was made at Durham in 1136. The Second Treaty of Durham was made at Durham in 1139.
The county regiment was the Durham Light Infantry, which replaced, in particular, the 68th (Durham) Regiment of Foot (Light Infantry) and the Militia and Volunteers of County Durham.
RAF Greatham, RAF Middleton St George and RAF Usworth were located in County Durham.
David I, the King of Scotland, invaded the county in 1136, and ravaged much of the county 1138. In 17 October 1346, the Battle of Neville's Cross was fought at Neville's Cross, near the city of Durham. On 16 December 1914, during the First World War, there was a raid on Hartlepool by the Imperial German Navy.
Chroniclers connected with Durham include the Bede, Symeon of Durham, Geoffrey of Coldingham and Robert de Graystanes.
County Durham has long been associated with coal mining, from medieval times up to the late 20th century. The Durham Coalfield covered a large area of the county, from Bishop Auckland, to Consett, to the River Tyne and below the North Sea, thereby providing a significant expanse of territory from which this rich mineral resource could be extracted.
King Stephen possessed a mine in Durham, which he granted to Bishop Pudsey, and in the same century colliers are mentioned at Coundon, Bishopwearmouth and Sedgefield. Cockfield Fell was one of the earliest Landsale collieries in Durham. Edward III issued an order allowing coal dug at Newcastle to be taken across the Tyne, and Richard II granted to the inhabitants of Durham licence to export the produce of the mines, without paying dues to the corporation of Newcastle. The majority was transported from the Port of Sunderland complex, which was constructed in the 1850s.
Among other early industries, lead-mining was carried on in the western part of the county, and mustard was extensively cultivated. Gateshead had a considerable tanning trade and shipbuilding was undertaken at Jarrow, and at Sunderland, which became the largest shipbuilding town in the world – constructing a third of Britain's tonnage.[citation needed]
The county's modern-era economic history was facilitated significantly by the growth of the mining industry during the nineteenth century. At the industry's height, in the early 20th century, over 170,000 coal miners were employed, and they mined 58,700,000 tons of coal in 1913 alone. As a result, a large number of colliery villages were built throughout the county as the industrial revolution gathered pace.
The railway industry was also a major employer during the industrial revolution, with railways being built throughout the county, such as The Tanfield Railway, The Clarence Railway and The Stockton and Darlington Railway. The growth of this industry occurred alongside the coal industry, as the railways provided a fast, efficient means to move coal from the mines to the ports and provided the fuel for the locomotives. The great railway pioneers Timothy Hackworth, Edward Pease, George Stephenson and Robert Stephenson were all actively involved with developing the railways in tandem with County Durham's coal mining industry. Shildon and Darlington became thriving 'railway towns' and experienced significant growths in population and prosperity; before the railways, just over 100 people lived in Shildon but, by the 1890s, the town was home to around 8,000 people, with Shildon Shops employing almost 3000 people at its height.
However, by the 1930s, the coal mining industry began to diminish and, by the mid-twentieth century, the pits were closing at an increasing rate. In 1951, the Durham County Development Plan highlighted a number of colliery villages, such as Blackhouse, as 'Category D' settlements, in which future development would be prohibited, property would be acquired and demolished, and the population moved to new housing, such as that being built in Newton Aycliffe. Likewise, the railway industry also began to decline, and was significantly brought to a fraction of its former self by the Beeching cuts in the 1960s. Darlington Works closed in 1966 and Shildon Shops followed suit in 1984. The county's last deep mines, at Easington, Vane Tempest, Wearmouth and Westoe, closed in 1993.
Postal Rates from 1801 were charged depending on the distance from London. Durham was allocated the code 263 the approximate mileage from London. From about 1811, a datestamp appeared on letters showing the date the letter was posted. In 1844 a new system was introduced and Durham was allocated the code 267. This system was replaced in 1840 when the first postage stamps were introduced.
According to the Encyclopædia Britannica Eleventh Edition (1911): "To the Anglo-Saxon period are to be referred portions of the churches of Monk Wearmouth (Sunderland), Jarrow, Escomb near Bishop Auckland, and numerous sculptured crosses, two of which are in situ at Aycliffe. . . . The Decorated and Perpendicular periods are very scantily represented, on account, as is supposed, of the incessant wars between England and Scotland in the 14th and 15th centuries. The principal monastic remains, besides those surrounding Durham cathedral, are those of its subordinate house or "cell," Finchale Priory, beautifully situated by the Wear. The most interesting castles are those of Durham, Raby, Brancepeth and Barnard. There are ruins of castelets or peel-towers at Dalden, Ludworth and Langley Dale. The hospitals of Sherburn, Greatham and Kepyer, founded by early bishops of Durham, retain but few ancient features."
The best remains of the Norman period include Durham Cathedral and Durham Castle, and several parish churches, such as St Laurence Church in Pittington. The Early English period has left the eastern portion of the cathedral, the churches of Darlington, Hartlepool, and St Andrew, Auckland, Sedgefield, and portions of a few other churches.
'Durham Castle and Cathedral' is a designated UNESCO World Heritage Site. Elsewhere in the County there is Auckland Castle.
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With precise attention to detail and using dimensions and specifications from the original rifle, the craftsmen at Turnbull Mfg. Co have re-created one of the most famous Winchester rifles ever produced. The production of this “TR Model 1876” will be limited to no more than 25 rifles. Each rifle will be individually numbered TR01-TR25 and will come in a custom display case. A portion of the proceeds from the sale of each rifle will benefit the Doug Turnbull Restoration Conservation Laboratory at the National Firearms Museum. Specifications: 45-75 caliber, button magazine, fancy pistol grip butt stock, 28" 1/2 round, 1/2 octagon barrel, steel grip cap, cheek piece stock, H-pattern checkering, checkered steel buttplate, Freund rear sight, sporting front sight, gold inlaid stock oval, color case hardened receiver.
The Colt SAA is featured on a black powder style frame, grips are one piece ivory carved with 'TR' monogram on right grip & carved buffalo on left grip. The engraving is a Nimschke style pattern based on the original gun. Engraving done by John Adams & Son. Gold plated hammer, cylinder & ejector rod housing, with the balance of gun in silver plate. 44-40, 7-1/2" barrel.
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
Would you say that I'm also creating the behaviors of those that I interact with?
Let me explain, the accurate response to that question is yes and no. For you are not creating the expressions or behaviors or choices of another individual, but you are creating that individual being in your experience. And you are creating the participation with the other individual. You do not create another individual's reality, but in your reality it is all very precise. And in that, every individual that you interact with or that you come into contact with is very precisely placed there, in a manner of speaking. For you have very precisely in every situation attracted or drawn to you every other individual that you interact with in any capacity.
Elias Audio Session 2755
Urbex Benelux -
There are no precise dates for the manufacture and processing of concrete pipelines. Most publications refer to the sewage system of the " Cloaca Maxima " in Rome, whereby the Romans used large natural stone blocks - later bricks - which they built up in layers with " opus caementitium " (Roman concrete). "Roman concrete" was also used for the drinking water supply and for the construction of aqueducts. Early sewage systems are also known from other cities, such as B. from Cologne, where in April 2005 the opening of the Roman sewer into the Roman Rhine port was found during the construction of the underground. They were built from blocks of tuff or from “opus caementitium” with a shell made of greywacke .
Precise harmony: “Dresden” as anthracite brown multiblend pavers and in an elegant grey as a wall cladding tile on the façade.
Read more about the project on our Architectum blog.
Planning, entrance and access area: Dörte Michaelis
Planning and implementation, annex to parking area and access: Architektengruppe Hamann
Photographer: Jens Krüger
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
An amusing sign in a Toronto art supply store. I liked the combination of creative illustration and humorous text. I assume it is the solution to customers entering the wrong door.
Rise of the Tomb Raider : la version PC se précise Disponible depuis le 13 novembre dernier sur Xbox One et Xbox 360, Rise of the Tomb Raider sortira très bientôt sur PC comme le confirme Steam.... via on.fb.me/1osNI0h
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
Duty called today, Duty 108 to be precise.
This began at 7.05am with 4½ times round the Lowca - Kells 1 service and was followed by the No.3 Mirehouse circular (X 8).
Importantly there was a one and a half hour meal break in between so having eaten my packed lunch in the George Street rest room in Whitehaven I had a bit of time to kill. As the sun was out I took the liberty of wandering across the road to Whitehaven Bransty station to see if owt was going on.
The first thing that happened (due to the fact that I was wearing my company uniform) was that a woman asked me what time the next train was arriving from Carlisle. I told her that, as a bus driver, I had absolutely no idea and that perhaps she should ask a member of Northern Rail’s staff or, failing that, look on the bloody great big timetables mounted on the wall in front of her.
Anyway; just as I was about to vacate the premises due to a lack of rail activity my spidey senses detected a sound from within the Bransty tunnel. As all signals were set “against” I presumed that whatever motive power exited the tunnel would be stopping within the station. I was right.
Turned out to be a brace of Class 66 locomotives in the livery of Direct Rail Services. The leading loco, 66419, one of DRS’ 2006 delivery of Class 66/4 heavy freight locomotives, idles at the platform as it awaits the road North to Carlisle.
Not the best of pictures as it was taken slightly into the sun, hence the bleached out sky.
Precise baiting is of paramount importance at my pond, for the carp are well educated as they seem to have studied all my fishing books with greatest interest, especially the sections on carp. So they know all my tricks and would reject a negligently baited hook within the blink of an eye! :-)
Riverside Cemetery, Kalamazoo, Michigan
Argus Anastigmat 50mm f/4.5 on Sony A7RM2.
Argus-Ilex-Precise I.R.C. f/4.5 Anastigmat (from the early Argus A camera series) on Sony A7RM2.
Converted to black-and-white in Lightroom CC; distortion, vignette and edge softness come with the lens.
Precise sizing of the holes and spacing on this prototype from Allan at Aerorpress, made in 2006.
Backstory: Allan had these made as prototypes, but had no intention of ever producing them. He was adamant that the increased oils these filters allowed to pass through were bad for your health and system. (I don't agree, but there you go).
I had it in mind to mass produce these myself, but after some false starts trying to find a photo-chemical etcher company that could produce these at a reasonable cost, it went severe-back burner. I never posted super detailed photos of it before, but now that Coava is producing a similar disk, here it is to compare and contrast. I'm actually quite happy Coava (or anyone, really) is producing a good metal filter for the aeropress. For me, it wasn't about making money in producing these things - it was about GETTING BETTER COFFEE out of the Aeropress. Paper just doesn't cut it.
I haven't been able to test Coava's disk against this one yet. I don't even know if the hole sizes and spacings are similar.
I actually have two disks from Alan - this one (my preferred one), and another that has 0.02 spacing and .01 holes (sizes are in inches).
Very precise sufficed the height of the bridge. Floods on the first weekend in June. Switzerland, June 2, 2013.
An 1900 sculpture representing Bartholdi
As an officer, he took part in the defense of Colmar , On September 13, 1870, Auguste Bartholdi was appointed Adjutant Major of the 1st Battalion. The Haut-Rhin prefect's orders were precise:
"You are to take up arms at three o'clock in the morning, quietly and without alarm. You will move along the road to Horbourg, about one kilometer from the town. If the enemy forces are too numerous, you will fall back on Colmar" [1].
Leading a squad, Bartholdi rushed to meet them. The battle began on the Horbourg bridge, quickly turning against the French, who suffered several casualties. "Bartholdi wrote in his diary: "The Badeners, victors over one hundred and fifty francs-tireurs and a hundred national guards, triumphantly occupied the town of Colmar with a whole army corps. The sculptor will build the funeral monument for the three fallen francs-tireurs. In October 1870, Bartholdi was appointed aide-de-camp to Garibaldi, commander of the Vosges army of volunteer francs-tireurs.
"The two men struck up a genuine friendship. They talked politics, philosophy and religion. They discovered their shared convictions" [2].
On February 13, 1871, at the Assembly in Bordeaux, Victor Hugo defended the "only general who fought for France and was not defeated". Bartholdi was to accompany the fighter in the red shirt until his return to Italy. On February 15, 1871, he wrote in his diary:
"A moving farewell. Garibaldi embraces us.
Bartholdi was born in Colmar, France, 2 August 1834.[4] He was born to a family of Alsatian Protestant heritage, with his family name adopted from Barthold.[5] His parents were Jean Charles Bartholdi (1791–1836) and Augusta Charlotte Bartholdi (née Beysser; 1801–1891). Frédéric Auguste Bartholdi was the youngest of their four children, and one of only two to survive infancy, along with the oldest brother, Jean-Charles, who became a lawyer and editor.[citation needed]
Bartholdi's father, a property owner and counselor to the prefecture, died when Bartholdi was two years old.[5] Afterwards, Bartholdi moved with his mother and his older brother Jean-Charles to Paris, where another branch of their family resided.[5] With the family often returning to spend long periods of time in Colmar,[5] the family maintained ownership and visited their house in Alsace, which later became the Bartholdi Museum in 1922.[6] While in Colmar, Bartholdi took drawing lessons from Martin Rossbach. In Paris, he studied sculpture with Antoine Étex. He also studied architecture under Henri Labrouste and Eugène-Emmanuel Viollet-le-Duc.[5]
Bartholdi attended the Lycée Louis-le-Grand in Paris and received a baccalauréat in 1852. He then went on to study architecture at the École nationale supérieure des Beaux-Arts[citation needed] as well as painting under Ary Scheffer[3][5] in his studio in the Rue Chaptal, now the Musée de la Vie Romantique.[citation needed] Later, Bartholdi turned his attention to sculpture, which afterward exclusively occupied him and his life.[3]
Career
Early sculptures and work in Colmar
Bartholdi early in his career
In 1853, Bartholdi submitted a Good Samaritan-themed sculptural group to the Paris Salon of 1853. The statue was later recreated in bronze. Within two years of his Salon debut, Bartholdi was commissioned by his hometown of Colmar to sculpt a bronze memorial of Jean Rapp, a Napoleonic General.[5] In 1855 and 1856 Bartholdi traveled in Yemen and Egypt with travel companions such as Jean-Léon Gérôme and other "orientalist" painters. The trip sparked Bartholdi's interest in colossal sculpture.[5]
In 1869, Bartholdi returned to Egypt to propose a new lighthouse to be built at the entrance of the Suez Canal, which was newly completed. The lighthouse, which was to be called Egypt Carrying the Light to Asia and shaped as a massive, draped figure holding a torch, was not commissioned.[5] Both the khedive and Lesseps declined the proposed statue from Bartholdi, citing the high cost.[7] The Port Said Lighthouse was built instead, by François Coignet in 1869.
A COLOSSAL LION, TERRIBLE IN HIS FURY
Close to moderate republicans such as Léon Gambetta and Adolphe Crémieux, both ministers in the government of national defense, Bartholdi condemned the Commune, which he accused of dividing France. At the end of 1871, the city of Belfort decided to erect a monument to commemorate the 103 days of resistance against the Prussians [3]. To the astonishment of the town, Bartholdi proposed to sculpt "a colossal lion, harassed, cornered and still terrible in its fury" under the citadel overlooking the town. Completed in 1880, the statue is 11 meters high and 22 meters long. In the Lion of Belfort room on the second floor of the Colmar Museum, a display case contains several terracotta models of the monument. After the Lion, Bartholdi tackled an even larger statue: Liberty Enlightening the World, better known as the Statue of Liberty, to celebrate the centennial of American independence (1776-1876). The Colmar museum has the oldest surviving model (1870), as well as original photographs of the various stages of construction in the workshop on rue de Chazelles, near Parc Monceau in Paris.
"My work will be gigantic, made of embossed copper plates, hammered and riveted. (...) Will you, Gustave Eiffel, the wizard of iron, be able to realize it?" asked the sculptor [4
The war and Statue of Liberty
Bartholdi sculpting with a miniature of Liberty Enlightening the World, now known as the Statue of Liberty, to his left
Bartholdi served in the Franco-Prussian War of 1870 as a squadron leader of the National Guard, and as a liaison officer to Italian General Giuseppe Garibaldi, representing the French government and the Army of the Vosges.[citation needed] As an officer, he took part in the defense of Colmar from Germany. Distraught over his region's defeat, over the following years he constructed a number of monuments celebrating French heroism in the defense against Germany. Among these projects was the Lion of Belfort, which he started working on in 1871, not finishing the massive sandstone statue until 1880.[5]
In 1871, he made his first trip to the United States, where he pitched the idea of a massive statue gifted from the French to the Americans in honor of the centennial of American independence. The idea, which had first been broached to him in 1865 by his friend Édouard René de Laboulaye, resulted in the Statue of Liberty in New York harbor.[5] After years of work and fundraising, the statue was inaugurated in 1886.[5] During this period, Bartholdi also sculpted a number of monuments for American cities, such as the Bartholdi Fountain in Washington, D.C., completed in 1878.[5]
Later years
In 1875, he joined the Freemasons Lodge Alsace-Lorraine in Paris.[8][9] In 1876, Bartholdi was one of the French commissioners in 1876 to the Philadelphia Centennial Exposition. There he exhibited bronze statues of The Young Vine-Grower, Génie Funèbre, Peace and Genius in the Grasp of Misery, receiving a bronze medal for the latter.[3] His 1878 statue Gribeauval became the property of the French state.[3]
A prolific creator of statues, monuments, and portraits, Bartholdi exhibited at the Paris Salons until the year of his death in 1904.[5] He also remained active with diverse mediums, including oil painting, watercolor, photography, and drawing,[5] and received the rank of Commander of the Legion of Honor in 1886. Bartholdi died of tuberculosis at age 70 in Paris on 4 October 1904.[10]
Personal life
In 1876, he married Jeanne-Emile Baheux in Providence, Rhode Island.[5] In 1893, Bartholdi and his wife visited the 1893 World's Columbian Exposition in Chicago, where his Washington and Lafayette sculptural group was exhibited.[11] Throughout his life Bartholdi maintained his childhood family home in Colmar; in 1922, it was made into the Musée Bartholdi.[5]
Major projects
The Statue of Liberty (Liberty Enlightening the World)
Main article: Statue of Liberty
Front page of Frank Leslie's 13 June 1885 edition of Illustrated Newspaper
The work for which Bartholdi is most famous is Liberty Enlightening the World, better known as the Statue of Liberty. Soon after the establishment of the French Third Republic, the project of building some suitable memorial to show the fraternal feeling existing between the republics of the United States and France was suggested, and in 1874 the Union Franco-Américaine (Franco-American Union) was established by Edouard de Laboulaye.[3]
Bartholdi's hometown in Alsace had just passed into German control in the Franco-Prussian War. These troubles in his ancestral home of Alsace are purported to have further influenced Bartholdi's own great interest in independence, liberty, and self-determination.[citation needed] Bartholdi subsequently joined the Union Franco-Américaine, among whose members were Laboulaye, Paul de Rémusat, William Waddington, Henri Martin, Ferdinand Marie de Lesseps, Jean-Baptiste Donatien de Vimeur, comte de Rochambeau, Oscar Gilbert Lafayette,[3] François Charles Lorraine, and Louis François Lorraine.[clarification needed]
Bartholdi in 1880
The Statue of Liberty
Bartholdi broached the idea of a massive statue and once its design was approved, the Union Franco-Américaine raised more than 1 million francs throughout France for its building.[3] In 1879, Bartholdi was awarded design patent U.S. patent D11,023 for the Statue of Liberty.
LIBERTY DOMINATING THE ROOFS OF PARIS
"I already have plans for a large tower to be built in the center of Paris, but I like your idea. We'll have to worry about storms and corrosion from the sea air. The interior framework will be difficult to build. What will be the dimensions of the work?
"La Liberté will be 46 m high. Around 100 m with the 3 m wide base," replied Bartholdi. The head will measure just over 5 m, the right arm 13 m without the torch; the index finger 2.5 m. I estimate the overall weight at around 225 tonnes" [5].
The body of the statue soon rose above the rooftops of Paris, attracting many curious onlookers to the studio. Among them was Victor Hugo, who paid a visit once the work was completed, on November 29 1884, a few months before his death. Despite being 82 years old, the poet wanted to climb the ten storeys inside the statue, but was dissuaded. A few months later, he wrote these words to Bartholdi:
"Form in statuary is everything and nothing. It is nothing without the spirit; it is everything with the idea" [6].
JOHN SUTTON
Musée Bartholdi: 30 rue des Marchands, 68000 Colmar
Tel: 03 89 41 90 60 www.colmar.fr and www.culture.fr
Further information on the town of Colmar: mon-grand-est.fr/10-curiosites-de-colmar-a-decouvrir/
On 4 July 1880, the statue was formally delivered to the American minister in Paris, the event being celebrated by a great banquet.[3] In October 1886, the structure was officially presented as the joint gift of the French and American people, and installed on Bedloe's Island in New York Harbor .[3] It was rumored in France that the face of the Statue of Liberty was modeled after Bartholdi's mother.[12] The statue is 46m high (151 feet and 1 inch),[13] and the top of the torch is at an elevation of 93m (305 feet 1 inch) from mean low-water mark.[14] It was the largest work of its kind that had been completed up to that time.[3]
Works in Colmar
Musée Bartholdi in Colmar
Bartholdi's hometown Colmar (modern political administrative region of Grand Est) has a number of statues and monuments by the sculptor, as well as a museum founded in 1922 in the house in which he was born, at 30 Rue des Marchands.
Monument du Général Rapp – 1856 (first shown 1855 in Paris. Bartholdi's earliest major work)
"Fontaine Schongauer" – 1863 (in front of the Unterlinden Museum)
"Fontaine de l'Amiral Bruat" – 1864
"Fontaine Roeselmann" – 1888
"Monument Hirn" – 1894
"Fontaine Schwendi", depicting Lazarus von Schwendi – 1898
Les grands soutiens du monde − 1902 (statue in the courtyard of the museum)
Other major works
Bartholdi Fountain in Washington, D.C.
Bartholdi's other major works include a variety of statues at Clermont-Ferrand; in Paris, and in other places. Notable works include:
1852: Francesca da Rimini[3]
1870: Le Vigneron[3]
1876 (plaster version in 1874) : Frieze and four angelic trumpeters on the tower of Brattle Square Church, Boston, Massachusetts, United States.
1876: Marquis de Lafayette (or Lafayette Arriving in America),[3] executed 1872, cast 1873[15] in Union Square, New York City, United States.
1878: The Bartholdi Fountain in Bartholdi Park, the United States Botanic Garden, Washington, D.C., United States.
1880: The Lion of Belfort, in Belfort, France, a massive sculpture of a lion depicting the huge struggle of the French to hold off the Prussian assault at the end of the Franco-Prussian War.[3] A plaster was exhibited in 1878.[3] Bartholdi was an officer himself during this period, attached to Garibaldi.
1889: Switzerland Succoring Strasbourg at Basel, Switzerland, which was a gift from the French city of Strasbourg, in appreciation of the humanitarian help it had received during the Franco-Prussian War.
1890: Statue of Liberty in Potosí, Bolivia.
1892: Fontaine Bartholdi, on the Place des Terreaux, in Lyon, France.
1893: Statue of Christopher Columbus, cast in silver for the 1892 Columbian Exposition in Chicago, Illinois; a bronze replica was erected in Providence, Rhode Island in 1893 and was taken down in June 2020.[16][17]
1895: Lafayette and Washington Monument," in the Place des États-Unis, Paris, and an exact replica at Morningside Park, New York City, United States.
1903: Vercingetorix,[3] equestrian statue in Place de Jaude, Clermont-Ferrand.
Marquis de Lafayette, statue of Gilbert du Motier, Marquis de Lafayette in Union Square, Manhattan, New York City
Marquis de Lafayette, statue of Gilbert du Motier, Marquis de Lafayette in Union Square, Manhattan, New York City
See also
Musée Bartholdi
Statue of Liberty Museum
en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Auguste_Bartholdi
If anyone can give a more precise dating for this badge I’d be grateful to hear from you. Thank you.
Imperial Chemical Industries (ICI) was a large British chemical company established in 1926 from the merger of four companies namely Brunner Mond, Nobel Explosives, United Alkali Company and the British Dyestuffs Corporation. ICI produced a diverse range of products in paints, dyes, pharmaceuticals, specialist plastics, adhesives, explosives and agrochemicals. In 2007 AzkoNobel acquired the ICI conglomerate who restructured them and sold off parts of ICI.
The ‘Imperial Lion’ and ICI monogram depicted on this badge was introduced in the 1920’s and was used by the company into the 1930’s until the more familiar ICI roundel logo superseded it completely. However, the ‘Imperial Lion’ logo remained popular with the work force who continued to use it much longer for their social and sports clubs.
.
References:
en.wikipedia.org/wiki/Imperial_Chemical_Industries
www.flickr.com/photos/77499774@N08/9232264327/ (Some information relating to the Imperial Lion ICI logo).
en.wikipedia.org/wiki/AkzoNobel (AzkoNobel NV company).
.
Enamels: 1 (red).
Finish: Gilt.
Material: Brass.
Fixer: Pin.
Size: 15/16” x 15/16” (24mm x 24mm).
Process: Die stamped.
Imprint: No maker’s name or mark.
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
A Stylish February Morning in New York City
The morning light filtered through the sheer curtains of their chic hotel room, casting a soft glow over the elegant coats draped over the chairs—one in warm camel, another in crisp ivory, and the last in rich caramel brown. Clara, Sophie, and Elise were already buzzing with excitement, their voices overlapping as they prepared for a full day of sightseeing in Manhattan.
Clara, ever the perfectionist, sat at the vanity mirror, carefully plucking her eyebrows into neat arches. "Sophie, hand me the brow gel, will you?" she called, smoothing a delicate touch of highlighter onto her cheekbones. Sophie, adjusting the fit of her tailored skirt in the mirror, tossed the tube over with a playful grin. "Honestly, Clara, your brows are already perfect. Meanwhile, I am fighting for my life with this eyeliner," she groaned, steadying her hand as she traced a precise wing.
Elise, already flawless in her classic white blouse and beige coat, leaned against the vanity, slipping on her black leather gloves. "You two are impossible," she teased. "We have an entire city waiting for us, and you're both waging a war against your reflections!" But even as she joked, she reached for a lipstick—her signature deep red—carefully pressing the color onto her lips.
Once their makeup was in place—soft, Parisian-inspired for Clara, bold and striking for Sophie, and timeless elegance for Elise—they turned to the final touch: getting dressed. They slid into their sleek pencil skirts, the fabric hugging their legs perfectly, while the crisp white shirts buttoned up neatly beneath their tailored coats. Black sheer tights and classic black heels completed the ensemble, elongating their silhouettes with effortless grace.
With a final glance in the mirror and an approving nod from each other, they grabbed their handbags and stepped out into the crisp February air. The city hummed around them as they strolled through Central Park, their coats cinched at the waist, their gloves keeping the chill at bay. Pedestrians stole admiring glances at the trio—three sophisticated figures, effortlessly stylish, blending into the city’s timeless rhythm.
"Next stop?" Sophie asked, tucking a blonde strand beneath her beret.
"Fifth Avenue, of course," Elise answered with a wink.
And with that, they strode forward, their heels clicking in unison against the pavement, ready to conquer the day in style.
A Chic Stroll Down Fifth Avenue
As Clara, Sophie, and Elise left the serene paths of Central Park behind, the towering grandeur of Fifth Avenue stretched before them, its sidewalks bustling with shoppers and tourists wrapped in winter coats. The crisp February air carried the scent of roasted chestnuts from a nearby vendor, mingling with the refined notes of expensive perfumes wafting from the open doors of luxury boutiques.
Their polished heels clicked against the pavement in effortless rhythm, their tailored coats cinched elegantly at the waist, swaying ever so slightly with each step. Sophie, adjusting the tilt of her red beret, glanced at the grand display windows of Bergdorf Goodman, where mannequins stood adorned in the latest haute couture. "You know, if I step inside, I may never leave," she mused, her crimson lips curving into a smile.
Clara, always the planner, gave a playful sigh. "We promised ourselves a quick look, not an all-day shopping spree. But… a peek wouldn’t hurt," she conceded, smoothing the lapel of her ivory coat.
Elise, ever poised, tucked a gloved hand beneath Sophie’s arm. "Just a peek," she echoed, her breath forming a faint mist in the winter air. "But if I see something irresistible, well… resistance is overrated."
Inside the boutique, the warmth enveloped them instantly, contrasting against the chill of the streets. The soft hum of classical music played overhead as sales associates, impeccably dressed, greeted them with knowing smiles. The trio moved gracefully through the aisles, their black-gloved fingers trailing over the luxurious fabrics—silk blouses, cashmere sweaters, and exquisitely tailored coats.
Sophie gasped as she held up a pair of black suede heels with a delicate gold buckle. "These were made for me," she declared, slipping off her own pumps to try them on. She turned her foot slightly, admiring how the sleek heel elongated her legs beneath her sheer black tights.
Clara, meanwhile, stood before a mirror, draping an elegant cashmere scarf over her shoulders, its soft ivory hue blending seamlessly with her coat. "It’s perfect," Elise noted, adjusting the fabric slightly. "Classic, understated—very you."
"You mean practical," Clara teased.
"Practical is just another form of chic," Elise replied with a wink, adjusting the cuff of her beige coat.
After much deliberation, a few indulgent purchases, and some playful bargaining with themselves, they emerged onto Fifth Avenue once more, shopping bags in hand. The city seemed to sparkle around them—the golden accents of Tiffany & Co., the imposing beauty of St. Patrick’s Cathedral, the dazzling lights of the grand hotels lining the avenue.
"We should toast to our impeccable taste," Sophie declared.
"And our restraint," Clara added with a smirk.
Elise laughed, looping her arm through both of theirs. "Then I know just the place—The Plaza. A glass of champagne is in order."
With their coats buttoned against the February breeze and their elegance undeniable, the three friends continued their stroll, the city their playground, their laughter mingling with the sounds of New York.
An Elegant Afternoon at The Plaza
With their shopping bags swinging lightly at their sides, Clara, Sophie, and Elise stepped through the grand entrance of The Plaza Hotel, where the warmth of the gilded lobby embraced them instantly. The soft clinking of crystal, the faint murmur of conversation, and the delicate notes of a live pianist filled the air, wrapping the space in an ambiance of old-world sophistication.
Their heels clicked against the polished marble floors as they made their way toward The Palm Court, its iconic stained-glass ceiling casting a soft golden hue over the elegantly set tables. A maître d’ in a sharp black suit greeted them with a polite nod, his eyes sweeping over their perfectly tailored coats—the rich caramel of Sophie’s, the warm beige of Elise’s, and the crisp ivory of Clara’s.
“Ladies, welcome. May I take your coats?”
The three exchanged knowing glances. Removing their outerwear was always a moment of silent drama, a small but undeniable pleasure. As they slid out of their coats, revealing their crisp white blouses tucked into their fitted skirts, the maître d’ smiled approvingly. "Right this way," he said, leading them to a corner table draped in pristine white linen.
Once seated, Clara crossed her legs, smoothing the fabric of her skirt over her sheer black tights. “Now, this is how you properly recover from a shopping spree,” she mused, glancing around at the chandeliers glinting overhead.
Sophie, adjusting the sleeve of her blouse, leaned back with a sigh. “It’s practically a ritual at this point—Fifth Avenue, then a champagne toast at The Plaza. I don’t make the rules.”
Elise smirked, reaching for the menu. “No, darling. We just follow them flawlessly.”
A waiter appeared, dressed impeccably in a crisp white jacket. “May I bring you ladies something to drink?”
“Three glasses of champagne,” Elise answered smoothly, not bothering to look up from the menu. Then, after a pause, she added with a slight tilt of her head, “And perhaps some petits fours. We deserve a little something sweet.”
As they sipped their champagne, their conversation drifted effortlessly from fashion to travel, from Parisian cafes to dream vacations. Sophie traced the rim of her glass thoughtfully. “Imagine us here in twenty years. Still meeting at The Plaza, still in perfect coats, still shopping like our lives depend on it.”
Clara chuckled, taking a delicate sip of her drink. “If we’re lucky, yes.”
Elise leaned in slightly, her red lips curving into a smile. “No, darling. Not luck—just impeccable taste and unshakable friendship.”
With a clink of their glasses, the promise was sealed. The city was theirs, the moment was perfect, and in their world, elegance would always be a way of life.
An Afternoon of Art and Elegance at The MoMA
Refreshed from their champagne interlude at The Plaza, Clara, Sophie, and Elise emerged onto Fifth Avenue once more, the brisk February air sharp against their cheeks. With a renewed sense of purpose—and a few new treasures from their shopping spree—they hailed a cab to their next destination: The Museum of Modern Art.
As they stepped through the museum’s grand entrance, the shift in atmosphere was immediate. The air inside was hushed, reverent, filled with the soft echo of footsteps and the murmured admiration of art lovers. The trio strode confidently toward the cloakroom, where an attendant, barely concealing his intrigue, reached to take their impeccably tailored coats.
With each careful movement, they shed their outer layers, revealing the sculpted elegance of their attire beneath—crisp white blouses, perfectly pressed, each collar sharp and sophisticated against the smooth line of their necks. Their high-waisted pencil skirts hugged their forms with precise tailoring, accentuating the length of their legs beneath the sheer black stockings that glistened subtly under the gallery’s soft lighting. Their patent leather heels, tipped with gold accents, stood firmly against the polished floor, clicking softly as they stepped forward.
A few passing visitors—men and women alike—cast discreet glances in their direction. Not just at their beauty, but at their presence: poised, refined, effortlessly commanding. There was a subtle thrill in it, the awareness of being observed, admired. A touch of discomfort from the fitted waistbands, the structured collars pressing against their skin, the slight pinch of their heels after a full day of walking—yet none of it diminished their elegance. If anything, it heightened it.
Sophie tilted her chin ever so slightly, suppressing a knowing smile as she caught a stranger's lingering gaze. “You’d think we were part of the exhibition,” she murmured under her breath.
Elise smirked, adjusting the cuff of her blouse. “Perhaps we are.”
Clara, always the pragmatist, gestured toward the main hall. “Shall we?”
They moved through the museum with effortless grace, their tailored silhouettes gliding past walls adorned with masterpieces. The bold strokes of Van Gogh’s Starry Night swirled in luminous blues before them, the haunting abstraction of Picasso’s Les Demoiselles d’Avignon holding them momentarily captive.
Elise crossed her arms, the crisp fabric of her blouse tightening slightly across her shoulders. “You know,” she mused, “there’s something about walking through a place like this in heels and a fitted skirt that makes you stand a little taller. Like we belong among the masters.”
Sophie chuckled, shifting her weight subtly to ease the pressure on her arches. “Art is about composition, darling. And we are nothing if not perfectly composed.”
Clara smirked, trailing a gloved finger lightly along the museum guide in her hand. “Speaking of composition, let’s find the Rothkos. Nothing like a little color to contrast with all this monochrome sophistication.”
And so they continued, an elegant trio amidst the avant-garde, exuding a quiet power in the way they carried themselves—graceful, unshaken, beautifully refined. The discomfort of their attire, if anything, only deepened their allure, a reminder that elegance was not just about looking exquisite, but about mastering it.
A Glamorous Dinner at The Carlyle
As twilight descended upon Manhattan, Clara, Sophie, and Elise found themselves once again wrapped in the luxurious warmth of their coats, stepping out of The MoMA and into the soft glow of streetlights. Their heels clicked against the pavement as they made their way to their final destination of the evening: The Carlyle, an iconic Upper East Side hotel known for its timeless elegance, whispering jazz, and clientele who appreciated refinement as much as they did.
A doorman in a perfectly pressed uniform tipped his hat as he swung the grand doors open for them. Inside, The Carlyle’s gilded interiors shimmered beneath soft chandeliers, casting a warm glow over the impeccably dressed patrons who lounged in deep velvet chairs, sipping cocktails with quiet sophistication.
As they stepped toward the dining room, the maître d’s gaze flickered momentarily over their trio—taking in the sharp tailoring of their fitted skirts, the crisp precision of their white blouses, the gleam of their sheer stockings against the soft lighting. He straightened slightly, his demeanor shifting to something even more deferential. “Ladies, welcome. Your table is ready.”
They were led toward a coveted corner table near the grand piano, where the murmur of conversation blended seamlessly with the soft melodies of live jazz. Clara slid into her seat with effortless poise, adjusting the structured collar of her blouse as she crossed her legs. Sophie’s delicate fingers traced the stem of her wine glass before she even lifted it, while Elise, ever composed, removed her black leather gloves with a measured grace, placing them neatly beside her on the table.
Across the room, a well-dressed gentleman in his forties—sharp suit, silver cufflinks, the quiet confidence of old money—leaned toward his companion and murmured something. A moment later, he approached their table with the easy assurance of a man accustomed to admiration.
“Ladies,” he began smoothly, offering them a polite but appreciative smile. “I couldn’t help but notice—you carry yourselves with remarkable elegance. A rare sight these days.” His gaze flickered to their flawless attire, the way their blouses remained crisp despite the evening’s wear, the subtle sheen of their stockings catching the candlelight.
Elise, ever the diplomat, inclined her head slightly, accepting the compliment with practiced grace. “How kind of you to say. We do believe elegance is something worth preserving.”
Sophie, always playful, took a slow sip of her champagne before flashing a knowing smile. “And worth perfecting.”
The man chuckled, clearly charmed. “Well, whatever you’re doing, you’re doing it exquisitely.” With a final nod, he returned to his table, leaving them to bask in the quiet satisfaction of being noticed—not for anything loud or ostentatious, but for the silent, powerful presence they commanded.
As their entrées arrived—delicate plates of filet mignon, sea bass, and the finest winter vegetables—their conversation turned to art, travel, and, of course, fashion. The slight snugness of their tailored skirts, the firm yet delicate embrace of their stockings, and the structured crispness of their collars were ever-present reminders of their refinement. The minor discomfort only deepened their sense of control, of power, of knowing they were women who set the standard rather than followed it.
By the time dessert arrived—slices of dark chocolate torte accompanied by espresso—the night had taken on a dreamy quality, the candlelight flickering against the polished silverware, the music drifting softly around them.
Clara glanced at her watch, then at her friends. “Shall we make a night of it?”
Elise smirked, dabbing the corner of her lips with a linen napkin. “I thought you’d never ask.”
Sophie drained the last sip of her champagne before reaching for her gloves. “The night is young, and so are we.”
With that, they rose, buttoning their coats with quiet ceremony, their heels clicking once more as they stepped back into the city—elegant, powerful, and undeniably unforgettable.
A Night of Jazz and Elegance
Wrapped in the embrace of their perfectly tailored coats, Clara, Sophie, and Elise stepped into the night, their heels striking the pavement with measured precision as they made their way to The Django, an intimate jazz club nestled beneath the refined grandeur of Tribeca’s Roxy Hotel. The evening air was crisp, sharpening their senses, but beneath their polished exteriors, a quiet thrill pulsed through them. There was something intoxicating about moving through the city this way—pristine, poised, the embodiment of composed femininity.
The moment they descended the dimly lit staircase into the club’s moody, underground world, the warmth of candlelight flickered across the plush leather booths, and the rich, velvety tones of a saxophone curled through the air. The scent of aged whiskey and perfume lingered, mixing with the sultry hum of conversation.
A doorman took their coats, revealing them once more in their exquisite evening wear. Their white blouses—still impeccably crisp despite the long day—gleamed softly in the dim light, the stiff collars a perfect contrast to the fluid notes of the music. Their pencil skirts, fitted with precision, sculpted their silhouettes, hugging their hips just enough to remind them of their own refined restraint. The sheer black stockings theyathed their legs in a whisper of silk, catching the flicker of candlelight with every movement, while their patent leather heels added a commanding rhythm to their steps.
Heads turned. Not in a loud, obvious way, but with that subtle, lingering intrigue reserved for women who exuded an effortless kind of power.
Sophie leaned toward Elise as they reached the bar, her red lips curving into a smirk. “You’d think people had never seen three women properly dressed before.”
Elise, smoothing an invisible wrinkle from the sleeve of her blouse, let out a soft chuckle. “Perhaps they haven’t.”
Clara simply ordered their drinks—classic martinis, as sharp and refined as they were—before leading them to a table near the stage, where a jazz singer, clad in deep emerald satin, crooned into the microphone, her voice dripping like honey over the notes of the piano.
As they settled into their seats, Clara shifted slightly, feeling the structured fabric of her skirt pull just enough to remind her of its tailored perfection. There was a certain pleasure in it—the way their clothes demanded composure, the way their fitted blouses restricted unnecessary movement, the way the sheen of their stockings added just the right amount of elegance to each crossed leg.
Sophie lifted her martini, the crisp collar of her blouse brushing against her jaw as she took a slow sip. “I do believe dressing well changes the way the world reacts to you.”
Elise, running a fingertip along the rim of her glass, nodded. “It’s not just about being seen. It’s about being remembered.”
And they would be. Even as the night deepened, as the music swelled, as the lights cast golden reflections against their polished heels, they knew they weren’t just part of the atmosphere—they were the atmosphere. The kind of women who brought elegance wherever they went.
As the bass thrummed softly beneath them, Clara leaned back, a slow, knowing smile playing on her lips. “To refinement,” she murmured, raising her glass.
“To power,” Elise added.
“To us,” Sophie finished, her voice rich with satisfaction.
Their glasses clinked, their lipstick prints left delicate stains on the rim—an unspoken signature of their presence. The night was theirs, wrapped in silk and sophistication, and they intended to make every second of it unforgettable.
A Nightcap in Silk and Shadow
The city glowed beneath them as their taxi wove through the quiet streets of Manhattan, the golden lights of skyscrapers reflecting off the rain-slicked pavement. The hum of jazz still played softly in their minds, mingling with the warmth of expertly mixed martinis and the lingering thrill of admiration. Clara, Sophie, and Elise sat in elegant repose, their bodies still held in the refined embrace of their attire, their minds savoring the final moments of the evening.
As they stepped into the grand marble lobby of their five-star hotel, the hush of the hour wrapped around them like velvet. The gleaming floors reflected the soft shimmer of their sheer stockings and the sharp elegance of their patent heels. A courteous nod from the night concierge, a whispered greeting, and then the quiet click of the elevator doors enclosing them in polished brass and plush carpeting.
Their suite was bathed in the warm glow of city lights filtering through floor-to-ceiling windows, casting elongated silhouettes onto the smooth surfaces of glass and leather. The air smelled faintly of fresh flowers and the delicate traces of their own perfumes, lingering from the morning’s first spritz.
Elise exhaled slowly, reaching up to unclip her earrings, the tiny motion sending a whisper of relief down her spine. Sophie let out a contented hum, slipping off her black leather gloves one finger at a time, placing them on the sleek vanity with a quiet finality.
Clara walked to the minibar, her movements still precise, controlled. “One last toast?” she murmured, pouring amber liquid into crystal tumblers. The sound of the ice clinking was almost hypnotic.
They gathered near the window, standing in elegant repose—heels still on, blouses still crisp, skirts still perfectly fitted. The glow of the skyline made their reflections gleam, three silhouettes of polished sophistication.
Slowly, deliberately, Sophie unfastened the top button of her blouse, the crisp fabric parting just slightly, releasing a breath of tension from her frame. Elise followed, rolling her shoulders as she loosened her own collar, feeling the subtle thrill of restraint giving way to ease. Clara, ever composed, ran a manicured hand over the smooth curve of her skirt before reaching up to undo the cuff of her sleeve.
There was something indulgent in the ritual of undressing—a pleasure in reversing the careful process of the morning, peeling away the layers of structured refinement. The soft rustle of fabric as skirts slid down, the quiet sigh of silk stockings as they were eased from long legs, the final click of heels being slipped off and set aside—all of it was as exquisite as the dressing itself.
Elise smoothed her fingers over the faint indentations left by the seams of her blouse, a quiet reminder of the discipline of elegance. Sophie stretched, reveling in the sensation of freedom, yet knowing she would welcome the embrace of a perfectly tailored outfit once more in the morning. Clara, watching them both, took another slow sip of her drink, her lips curving into a satisfied smile.
The evening had been everything they had wanted—refined, poised, unforgettable. And as they settled into the opulence of their suite, wrapped in silk robes and quiet laughter, they knew that elegance was not just about how they dressed, but how they carried themselves—always with grace, always with power, and always leaving an impression that lingered long after they had departed.
Clara’s Reflection: A Dream in Silk and Light
As the night deepened, the city outside their window pulsed with quiet life, the glow of distant headlights weaving through the streets like golden threads in a vast, shimmering tapestry. The suite had settled into a luxurious hush—Sophie reclining with a book in hand, Elise gazing at the skyline, lost in thought. And Clara, wrapped in the weightless embrace of a silk robe, let herself sink into the cool sheets of her bed, her body still humming with the echoes of the evening.
She traced a fingertip along her wrist, feeling the faint imprint left by the cuffs of her blouse, a lingering whisper of elegance. Even now, she could still sense the crisp collar against her skin, the sculpting embrace of her skirt, the way her sheer stockings had clung to her legs with polished perfection. The memory of it thrilled her—not just the attire itself, but what it represented.
Refinement. Power. Control.
There was something intoxicating about it all—the quiet mastery of dressing with precision, the knowledge that every movement was shaped by the exquisite structure of their clothes. The way heads turned, the way admiration lingered in the air around them like a fine perfume.
As her mind drifted, she thought of the jazz club, the way the candlelight had flickered against the polished surface of their heels. She thought of the glances, the murmured compliments, the weight of eyes following them as they moved through the city. But more than that, she thought of the feeling—that deep, unshakable sense of purpose, of being exactly as they had intended to be: poised, elegant, unforgettable.
A soft exhale. A stretch of silk against skin.
Clara closed her eyes, a satisfied smile curving at the corner of her lips.
Tomorrow, they would do it all over again.
And she wouldn’t change a single thing.
DivahZ Couture has New items out. Be sure to grab ya girls and go check it out. Happy Shopping DivahZ!
All New items have Omega/TMP Only.
Toute aide pour une identification précise serait appréciée.
Any help for identification will be much appreciated.
When was the world's first railway laid? No one is quite confident on a precise date but simple rails have been used to guide vehicles for centuries, definitely as far back as the middle ages and possibly even in ancient Greece.
What is certain is that in the early 1600s a Nottinghamshire businessman called Huntingdon Beaumont came to Northumberland and laid rails from collieries near Blyth to a shipping point on the coast.
His waggonway used horses hauling wooden waggons on wooden wheels on wooden rails, however this was not a financial success. It did though provide the spark of progression from primitive wooden rails over short distances, to a railway network which would change Britain and the world forever.
Tyneside Roads
From the mid 1600 onwards waggonways and the Tyneside coal industry became linked so closely that they were known throughout the rest of Britain as 'Tyneside Roads'. A network of lines linked collieries on both sides of the Tyne to the river.
It is no coincidence that the North East was the area where waggonways took greatest hold, because canal building was impossible due to deep valleys and steep hills. What set the rail systems of Tyneside apart from all others was its use of the flanged wheel - a key element of the modern railway as we know it.
A revelation
When the Tanfield Railway - or waggonway as it was known at the time - was built in 1725, it was a revelation. Its massive engineering was unlike anything else in its era, or even since the Roman Empire. It was a triumph of engineering over nature, a clear signal that a new industrial age was upon the world, and that railways would play a massive part.
First laid down more than a quarter of a century before the first railway officially sanctioned by government, over 75 years before the first steam locomotive and a whole 100 years earlier than the Stockton and Darlington Railway, the Tanfield Railway is the world's oldest railway. We will be the first railway to celebrate our tricentenary in 2025.
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
It was the four 20mm cannon that provided the most precise punch of the night fighter Mosquito F.B. Mk. VI... and the bomb bay was right behind the cannon. So enjoy.
With the Flying Heritage & Combat Armor Museum (aka FHC, FHCAM) successfully having a first flight of their Mosquito as per Warbirds News w/ some of my photos at goo.gl/8U66BG , time on a "Military Monday" to backfill the Flickr page with photos on the Mosquito restoration project.
This photo is from 12 April 2017. The Flickr album tracking the progress of the FHCAM Mossie: flic.kr/s/aHskTgsaWJ . Please visit the album as I don't share to ALL Flickr groups every photo of there...
One can see the FHCAM Mosquito fly July 22nd at Skyfair. Details up at goo.gl/rdPaai on the FHCAM website.
PHOTO CREDIT: Joe A. Kunzler Photo, AvgeekJoe Productions, growlernoise-AT-gmail-DOT-com
Northern Premier League
Workington 1 Frickley 1
Atten 402
On two previous occasions i have got within touching distance of visiting Borough Park. To be precise it was 2.5 miles in 2013 and just two months ago only 2 miles. All this after many years of wanting to visit this historic non league ground. Well today i finally made it. I arrived in glorious Cumbrian sunshine only to see it looking fantastic.
The superb welcome given by the Clubs Officials made you feel at home immediately.
Borough Park is dripping in history. During the 1957/58 season they played the great Manchester United team known as the Busby Babes at home in the 3rd round of the FA Cup, attracting a record crowd of 21,000. This was just a month before eight of the United players lost their lives in the Munich air disaster, the same room a Frickley changed in today.
There are plenty of reminders of former manager Bill Shankly hanging proudly in the lounge. There is also plenty of fantastic steep terracing and spacious stands. I can only imagine what it would feel like to attend a big occasion night game here under the lights with a full house cheering the Reds on.
Frickley played really well, carrying on from their midweek thrashing of FCUM. In fact they they should have won it with three excellent chances in the last ten minutes, best of all the half-volley miss by goal machine Allott. It was just inches wide from sealing all three points for the team from the Yorkshire pit village.
Yes it has been a very long wait to visit Borough Park but it has been well worth it. Shame i did not have enough time to visit Workington Town Rugby League Club across the road, as it looks a fantastic ground. Not a problem really, as it gives me an excuse to return ...... as long as they call me "marra".
When was the world's first railway laid? No one is quite confident on a precise date but simple rails have been used to guide vehicles for centuries, definitely as far back as the middle ages and possibly even in ancient Greece.
What is certain is that in the early 1600s a Nottinghamshire businessman called Huntingdon Beaumont came to Northumberland and laid rails from collieries near Blyth to a shipping point on the coast.
His waggonway used horses hauling wooden waggons on wooden wheels on wooden rails, however this was not a financial success. It did though provide the spark of progression from primitive wooden rails over short distances, to a railway network which would change Britain and the world forever.
Tyneside Roads
From the mid 1600 onwards waggonways and the Tyneside coal industry became linked so closely that they were known throughout the rest of Britain as 'Tyneside Roads'. A network of lines linked collieries on both sides of the Tyne to the river.
It is no coincidence that the North East was the area where waggonways took greatest hold, because canal building was impossible due to deep valleys and steep hills. What set the rail systems of Tyneside apart from all others was its use of the flanged wheel - a key element of the modern railway as we know it.
A revelation
When the Tanfield Railway - or waggonway as it was known at the time - was built in 1725, it was a revelation. Its massive engineering was unlike anything else in its era, or even since the Roman Empire. It was a triumph of engineering over nature, a clear signal that a new industrial age was upon the world, and that railways would play a massive part.
First laid down more than a quarter of a century before the first railway officially sanctioned by government, over 75 years before the first steam locomotive and a whole 100 years earlier than the Stockton and Darlington Railway, the Tanfield Railway is the world's oldest railway. We will be the first railway to celebrate our tricentenary in 2025.
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
Dynamic self-portrait. I'm not really that muscular but when lit correctly it sure can look that way. I love my abs! NOT Photoshopped just precise lighting. Canon 5d mkii 85mm f1.8 Paul C. Buff Einstein monolight stobes
The tree marks the precise spot of the southern 'portal' of the tunnel under Clifton Road which carried the tramway from the Clifton collieries to the gasworks/canal basin. The tree is, bizarrely, dead centre of the track bed. If you look over the wall you can make out the portal from above. Ground level access isn't possible.
Taking precise measurements of the patient for making the immobilisation mask for assuring the treatment setup is the same for each treatment. Allgemeines Krankenhaus der Stadt Wien, Vienna, Austria. June 2016.
Photo Credit: Dean Calma / IAEA
Arthur Roessler, 1910
Schwarze Kreide/Black chalk
Albertina
Egon Schiele met the writer and collector Arthur Roessler in 1909. These two portrait studies testify to the artist's interest in his subject's precise physiognomy. Like in the portrait of Eduad Kosmack, the subtly worked eyes lend the portrayed subject a penetrading gaze. The tree-quarter pencil portrait drawing shows Schiele's paternal friend and patron as a person self-confidently at peace with himself with his hands places proudly on his hips: a kind of portrait traditionally characterizing a determined man of action.
Schiele lernt den Publizisten und Sammler Arthus Roessler im Jahr 1909 kennen. Die zwei Porträtstudien zeigen das Interesse des Künstlers an der präzisen Physiognomie. Wie beim Bildnis Eduard Kosmacks sind bei der Kopfstudie die Augen fein herausgearbeitet und geben dem Porträtierten einen eindringlichen Blick. Die dreiviertelfigurige Bleistiftzeichnung zeigt Schieles väterlichen Freund und Förderer als eine selbstbewusst in sich ruhende Persönlichkeit, die stolz die Arme in die Hüften stemmt. Ein Porträttypus, der in der traditionellen Auffassung einen entschlossenen Tatmenschen charakterisiert.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Exercise PRECISE RESPONSE, is an annual chemical, biological, radiological, and nuclear (CBRN) exercise hosted by Defence Research and Development Canada at Canadian Forces Base Suffield where the Canadian Armed Forces along with NATO allies and partner Nations can practice essential CBRN defence skills in a multinational training environment.